INANA IN THE UNDERWORLD

Inanna
INANA IN DE ONDERWERELD

pen and watercolour on paper
2013 - 270 x 220 mm

DETAILS :

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WORK IN PROGRESS

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During a conversation on drawing techniques with with Héctor Pineda, I mentioned I didn't use stippling anymore. Stippling is a very old pen-drawing technique that comes from engravers. Everything is rendered with little dots. It is a slow and tedious technique that does not really allow for 'material' in very small works like this one. I did use it long ago, first in drawings, then in my etchings
But when I reviewed my day before going to sleep, I suddenly thought: and why don't I use stippling anymore? It was fun to do, and it offers results that are completely different from linework. So the next morning I started what would become Inana

Being born with an opposition between Venus and Pluto, I have always been fascinated by the face-to-face confrontation of Aphrodite and Hades. In Greek mythology this never really happens. But Aphrodite also had previous 'incarnations' , like Ishtar in Akkad and Inana in Uruk. Both descending into the Underworld. They do not meet Hades of course, but the story is worth reading.
Wikipedia can help you.
In my opinion, Inana resembles more the original Aphrodite, the Goddess who sprang from the drops of blood that fell into the sea near Petra tou Romiou (Cyprus) when Chronos (Saturn, measurable time) castrated his father Ouranos (Uranus, space). The sometimes annoying girlish manners She is often described to have had in Greek Mythology probably originate from a more male-dominated Greek society that preferred to keep its womanfolk inside the houses and far from life. Inana was more 'do what thou wilt' than Aphrodite.

Don't forget that as usual the subject was not planned beforehand and the title is not limiting! The bleak colours though were indeed chosen with the story of Inana's visit to the Underworld in mind.